Let's Talk About Films – Again!
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ANNIVERSARY SPECIAL Millenniumpost.In
ANNIVERSARY SPECIAL millenniumpost.in pages millenniumpost NO HALF TRUTHS th28 NEW DELHI & KOLKATA | MAY 2018 Contents “Dharma and Dhamma have come home to the sacred soil of 63 Simplifying Doing Trade this ancient land of faith, wisdom and enlightenment” Narendra Modi's Compelling Narrative 5 Honourable President Ram Nath Kovind gave this inaugural address at the International Conference on Delineating Development: 6 The Bengal Model State and Social Order in Dharma-Dhamma Traditions, on January 11, 2018, at Nalanda University, highlighting India’s historical commitment to ethical development, intellectual enrichment & self-reformation 8 Media: Varying Contours How Central Banks Fail am happy to be here for 10 the inauguration of the International Conference Unmistakable Areas of on State and Social Order 12 Hope & Despair in IDharma-Dhamma Traditions being organised by the Nalanda University in partnership with the Vietnam The Universal Religion Buddhist University, India Foundation, 14 of Swami Vivekananda and the Ministry of External Affairs, Government of India. In particular, Ethical Healthcare: A I must welcome the international scholars and delegates, from 11 16 Collective Responsibility countries, who have arrived here for this conference. Idea of India I understand this is the fourth 17 International Dharma-Dhamma Conference but the first to be hosted An Indian Summer by Nalanda University and in the state 18 for Indian Art of Bihar. In a sense, the twin traditions of Dharma and Dhamma have come home. They have come home to the PMUY: Enlightening sacred soil of this ancient land of faith, 21 Rural Lives wisdom and enlightenment – this land of Lord Buddha. -
Indian Panorama 2019 Press Release
1 DIRECTORATE OF FILM FESTIVALS (Ministry of I&B) Indian Panorama 2019 Press Release The 50th International Film Festival of India, 2019 announces the selection of Indian Panorama. Indian Panorama is a flagship section of IFFI, which showcases the best of contemporary Indian Feature and Non-Feature Films of the years. This year, the Feature Film Jury, comprising of thirteen members was headed by acclaimed filmmaker and screenwriter Shri Priyadarshan. The Feature Jury constituted of the following Members: 1. Smt Sreelekha Mukherji, Actress & Director 2. Shri Ahathian, Filmmaker, Writer, Director & Actor 3. Shri Sabyasachi Mohapatra, Filmmaker 4. Shri Vinod Ganatra, Filmmaker 5. Shri Rajendra Prasad Choudhary, Cinematographer, Filmmaker and Film Producer 6. Shri Kuukuu Kohli, Filmmaker and Film Producer 7. Shri Jadu Moni Dutta, Film actor and Director 8. Shri Harish Bhimani, Narrator, Screenwriter and Filmmaker 9. Shri Akashaditya Lama, Filmmaker 10. Shri K Puttaswamy, Film critic, Film historian and writer 11. Shri Phunsukh Laddakhi, Film actor and educationist 12. Shri Girish Mohite, Filmmaker The Feature Film Jury has selected 21 Feature films from the received entries . The package includes Best Feature Film of 66th National Film Awards 2018 titled “Hellaro” (Gujarati) by virtue of direct entry as per Indian Panorama 2019 clause no. 8.6. Five (5) Mainstream films are also selected under Indian Panorama Section of 50th International Film Festival of India, 2019 by an Internal Committee of DFF based on the recommendations of FFI and PRODUCER’S GUILD. List of 26 Feature Films selected in the Indian Panorama 2019 is as follows: S. No. Name of the film Language Director 1. -
Locating the Auteur in Rituparno Ghosh's Dahan
Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935) Indexed by Web of Science, Scopus, DOAJ, ERIHPLUS Vol. 13, No. 2, April-June, 2021. 1-12 Full Text: http://rupkatha.com/V13/n2/v13n242.pdf DOI: https://dx.doi.org/10.21659/rupkatha.v13n2.42 Published on June 26, 2021 Infidelity to True Story and Novel: Locating the Auteur in Rituparno Ghosh’s Dahan Akaitab Mukherjee Assistant Professor, School of Social Sciences and Languages (SSL), Vellore Institute of Technology (VIT), Chennai Campus, Tamil Nadu, India, [email protected], ORCID id-0000-0001-6410-9898 Abstract Rituparno Ghosh (1961-2013), a celebrated Bengali film director who started making film in 90s, often borrows plots from literary and other cultural narratives. The essay aims to explicate Ghosh’s early film Dahan (1997) which is an adaptation of distinguished Bengali novelist Suchitra Bhattacharya’s novel with the same title. Bhattacharya’s novel is influenced by the real incident in which a couple was harassed by four youths at Tollygunge Metro Station in Kolkata on 27th November, 1992. The film also acknowledges that it is indebted to the true story. The essay explicates the adaptation of the two sources by the auteur. It examines the duplication of authorial concerns in this adaptation while following the narratives of two texts. Ghosh remains unfaithful to the literary text and the cultural memory of the true story to establish his authorship. As Ghosh’s films portray the middle class women in patriarchal society, following Janet Staiger’s reconsideration of the theory of auteur in the context of queer movement and identity politics in 1970s, the essay argues that the performance of infidelity to the literary and true story to establish authorship is auteur’s “technique of the self”. -
A Portrayal of People Essays on Visual Anthropology
A PORTRAYAL OF PEOPLE Digitized by the Internet Archive in 2018 with funding from Public.Resource.Org https://archive.org/details/portrayalofpeoplOOunse A PORTRAYAL OF PEOPLE Essays on Visual Anthropology in India Co-published by ANTHROPOLOGICAL SURVEY OF INDIA INDIAN NATIONAL TRUST FOR ART AND CULTURAL HERITAGE INTACH 71, Lodhi Estate New Delhi-110 003 ANTHROPOLOGICAL SURVEY OF INDIA West Block 2, Wing 6, First Floor R.K. Puram New Delhi 110 066. ©ASI, INTACH, 1987. © For individual contributions with authors. Printed at Indraprastha Press (CBT) 4 Bahadur Shah Zafar Marg, New Delhi 110002. CONTENTS Foreword v Introduction ix An Examination of the 1 Need and Potential for Visual Anthropology in India Rakhi Roy and Jayasinhji Jhala Anthropological Survey of 20 India and Visual Anthropology K.S. Singh History of Visual Anthropology 49 in India K.N. Sahay Perceptions of the Self and Other 75 in Visual Anthropology Rakhi Roy and Jayasinhji Jhala My Experiences as a Cameraman 99 in the Anthropological Survey Susanta K. Chattopadhyay The Vital Interface 114 Ashish Rajadhyaksha The Realistic Fictional Film: 127 How far from Visual Anthropology? Chidananda Das Gupta Phaniyamma and the Triumph 139 of Asceticism T.G. Vaidyanathan Images of Islam and Muslims 147 on Doordarshan Iqbal Masud Man in My Films 161 Mrinal Sen/Someshwar Bhowmick The Individual and Society 169 Adoor Gopalakrishnan/Madhavan Kutty Notes on Contributors 174 FOREWORD It has often been said that India lives in many centuries at the same time. The complex network of diversity that stretches across time and space has made India a paradise for anthropologists. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Rabindrnath Tagore's Nauka Dubi - from Page to Screenn Prof
Rabindrnath Tagore's Nauka Dubi - From Page to Screenn Prof. Shailee Dhamsania A journey of a literary work fiom page to screen makes adaptation interesting. The adaptation of print medium into film took place for certain reasons. Firstly, the director gets fascinated by the story and believes the story lends itself beautihlly to the medium of film. Secondly, many a time he wishes to present his personal interpretation of the original story through his own language of film. Thirdly, he wishes to take up the challenge of recreating a period in history, and the original literary source is picked up mainly for the period element than for its theme of plot. Fourthly, he would like to use film because the story as literature reflects it, is in some way or another his own ideological stand on a particular subject or issue, and his use of the film medium conveys this ideology to his audience. Rabindranath Tagore is a milestone in Bengali literature. With the publication of Gitanjali, his fame attained a luminous height taking him across continents. For the world he became the voice of India's spiritual heritage; and for India, especially for Bengal he became a great living institution. Tagore was philosophic, spiritual and experimental in his expression. He was more inclined to poetry but contributed and enriched all most all forms of art and literature. There is no exaggeration if we call him the best literary stalwart of India. His famous work e.g. 'Gora', 'Chokher-Bali', 'Nauka Dubi', 'Char Ad*' fall into the category of the best Bengali novels, extremely popular and reached the masses through the,original and translated versions of his works. -
Intellectuals and the Maoists
Intellectuals and the Maoists Uddipan Mukherjee∗ A revolution, insurgency or for that matter, even a rebellion rests on a pedestal of ideology. The ‘ideology’ could be a contested one – either from the so-called leftist or the rightist perspective. As ideology is of paramount importance, so are ‘intellectuals’. This paper delves into the concept of ‘intellectuals’. Thereafter, the role of the intellectuals in India’s Maoist insurgency is brought out. The issue turns out to be extremely topical considering the current discourse of ‘urban Naxals/ Maoists’. A few questions that need to be addressed in the discourse on who the Maoist intellectuals are: * Dr. Uddipan Mukherjee is a Civil Service officer and presently Joint Director at Ordnance Factory Board, Ministry of Defence, Government of India. He earned his PhD from the Tata Institute of Fundamental Research, Department of Atomic Energy. He was part of a national Task Force on Left Wing Extremism set up by the think tank VIF. A television commentator on Maoist insurgency, he has published widely in national and international journals/think-tanks/books on counterinsurgency, physics, history and foreign policy. He is the author of the book ‘Modern World History' for Civil Services. Views expressed in this paper are his own. Uddipan Mukherjee Are the intellectuals always anti-state? Can they bring about a revolution or social change? What did Gramsci, Lenin or Mao opine about intellectuals? Is the ongoing Left- wing Extremism aka Maoist insurgency in India guided by intellectuals? Do academics, -
Exploitation, Victimhood, and Gendered Performance in Rituparno Ghosh’S Bariwali
EXPLOITATION, VICTIMHOOD, AND GENDERED PERFORMANCE IN RITUPARNO GHOSH’S BARIWALI Rohit K. Dasgupta and Tanmayee Banerjee Rituparno Ghosh (1961—2013) was a filmmaker, lyricist, and writer who first emerged on the cultural scene in Bengal as a copywriter at Response, a Kolkata-based advertising firm in the eighties. He made a mark for himself in the world of commercials, winning several awards for his company be- fore directing two documentaries for Doordarshan (India’s national public television). He moved into narrative film- making with the critically acclaimed Hirer Angti (Diamond Ring, 1992) and the National Award–winning Unishe April (19th April, 1995). He is credited with changing the experi- ence of cinema for the middle-class Bengali bhadrolok and 1 thus opening a new chapter in the history of Indian cinema. Ghosh arrived at a time when Bengali cinema was going Rituparno Ghosh. ©SangeetaDatta,2013 through a dark phase. Satyajit Ray had passed away in 1992 , leaving a vacuum. Although filmmakers such as Mrinal Ghosh, clearly influenced by Ray and Sen, addressed the Sen, Goutam Ghose, Aparna Sen, and Buddhadeb Dasgupta Bengali middle-class nostalgia for the past and made films “ ” contributed significantly to his genre of intellectual cinema, that were distinctly “Bengali” yet transcended its parochialism. they did not have much command over the commercial mar- Ghosh’s films were widely appreciated for their challenging “ ” ket. The contrived plots, melodrama, and obligatory fight narratives. His stories explored such transgressive social codes sequences of the action-packed Hindi cinema, so appealing to as incest in Utsab (Festival, 1999), marital rape in Dahan the masses, had barely anything intelligible to offer to those in (Crossfire, 1997), polyamory in Shubho Muharat (First Shot, search of a higher quality cinema. -
Translation As Transcreation: a Study of Selected Poems of Jibanananda Das
JAST © 2015 M.U.C.Women’s College, Burdwan ISSN 2395-4353 -a peer reviewed multidisciplinary research journal Vol.-01, Issue- 01 Translation as Transcreation: A Study of Selected Poems of Jibanananda Das Joyanta Dangar Department of English M.U.C. Women’s College, Burdwan West Bengal, India E-mail: [email protected] Abstract: Jibanananda Das, a poet of the post-Tagore era in Bengal, composed volumes of poetry, from which some representative poems such as “I have seen the face of Bengal,” “Banalata Sen,” and “One Day Eight Years Ago” have been selected for the present study. To capture the “harmonic cadences” arising from employment of different types of rhyme and figures of speech in Das’s poetry is a challenge for his translators. Besides, considerations of form and the art of conveying Das’s sense of history of India when the target audience is non- Indian are equally challenging. However, some gains in the form of transcreation may be considered compensations for inevitable losses incurred in course of translation. Key words: Mosaic rhyme, hyperbaton, “ambiguity,” target reader, linguistic equivalence, untranslatability, sense of history The act of translation is voluntary, that is the material has been chosen by the translator himself and the prime mover is to recreate it. —Meenakshi Mukherjee, “Transposition of Culture.” Cygnus 2: 2(1981) Jibanananda Das (1899-1954) was a modern Bengali poet writing in the twentieth century. Acknowledged as the leading poet of the post-Tagore era, Das wrote ceaselessly, but only seven volumes of his poetry were published during his lifetime. An introvert, he never came to the limelight: one of his contemporary poets, Buddhadeb Bose called him the “loneliest of poets.” Among major collections of his poetry are Beautiful Bengal (Rupasi Bangla; 1934, Pub. -
Calcutta Notebook Shoummo
Frontier Vol. 44, No. 7, Aug 28 -Sept 3, 2011 Calcutta Notebook Shoummo Lastly, silence: I believe, this is the most symbolic.... (Ritwik Ghatak on sound in films) KOLKATA WAS ALWAYS well known for its discourse on cinema facilitated in no small way by film clubs or film societies. The activity levels of these clubs have ebbed of late and the reasons could be many. Digital technology has empowered film lovers to enjoy cinema within the confines of their homes along with friends and fellow film buffs. Queuing up outside Sarala Ray Memorial hall, best suited for foreign films with subtitles because of abysmal auditorium acoustics, has been passé for the past ten years in the least. It must be mentioned that at least two film societies, namely Cine Central and Eisenstein Film Club have ridden the digital crest very well and many a time these societies have screened films with the aid of digital gadgets, in better auditoriums. Kolkata film societies have also been prolific publishers and again, even if the level of activity may have ebbed, there has been an intermittent flow of film society periodicals as well as scripts of notable films and anthology of important articles. One such publication that readily comes to mind is Film Polemics by Cine Club of Calcutta. It is a collection of letters and a few articles that drew attention on the pages of Kolkata newspapers and periodicals between 1958 and 1991. Some of the articles and letters appeared in newspapers and periodicals published from elsewhere like The Times of India, Mainstream and the now defunct Illustrated Weekly of India. -
The Changing Role of Women in Hindi Cinema
RESEARCH PAPER Social Science Volume : 4 | Issue : 7 | July 2014 | ISSN - 2249-555X The Changing Role of Women in Hindi Cinema KEYWORDS Pratima Mistry Indian society is very much obsessed with cinema. It is the and Mrs. Iyer) are no less than the revered classics of Ray or most appealing and far reaching medium. It can cut across Benegal. the class and caste boundaries and is accessible to all sec- tions of society. As an art form it embraces both elite and Women have played a number of roles in Hindi movies: the mass. It has a much wider catchment area than literature. mythical, the Sati-Savitri, the rebel, the victim and victimizer, There is no exaggeration in saying that the Indian Cinema the avant-garde and the contemporary. The new woman was has a deep impact on the changing scenario of our society in always portrayed as a rebel. There are some positive portray- such a way as no other medium could ever achieve. als of rebels in the Hindi movies like Mirch Masala, Damini, Pratighat, Zakhm, Zubeida, Mritudand and several others. Literature and cinema, the two art forms, one verbal in form The definition of an ideal Indian woman is changing in Hindi and the other visual, are not merely parallel but interactive, Cinema, and it has to change in order to suit into a changing resiprocative and interdependent. A number of literary clas- society. It has been a long hundred years since Dadasaheb sics have been made popular by the medium of cinema. Phalke had to settle for a man to play the heroine in India’s first feature film Raja Harishchandra (1913) and women in During its awesome journey of 100 years, the Indian Cinema Hindi cinema have come a long way since then. -
Alternative Cinema(S) of South Asia/ Submission of Abstracts: 20Th August 2020
H-Film Alternative Cinema(s) of South Asia/ Submission of Abstracts: 20th August 2020 Discussion published by Elif Sendur on Wednesday, July 22, 2020 GGSIP University, New Delhi, Shivaji University, Kolhapur contact email: [email protected] South Asia in Alternative Cinema(s) Concept Note South-Asian Cinema comprises the body of cinematic works produced in South–Asian Countries - India, Sri Lanka, Nepal, Bangladesh, Maldives, Bhutan, Pakistan and Afghanistan. It offers an indispensable source for understanding the vicissitudes of the region addressing its social, political and cultural issues. It is significant to note that for South–Asian Cinema has been a site of national, religious, ethnic and cultural debates. These films are a valuable source to understand social, cultural and political dynamics of the region. Despite its seemingly common problems such as the issues of minorities, women, violence, fluid contact zones, disputed borders and challenges of modernity, the region is also known for its cultural, religious, ethnic and linguistic diversity. Though there are superficial similarities yet each country/region has its unique dynamics, social system, cultural practices and circumstances. The complex nature of the region demands critical engagement and nuanced understanding of its society, culture, politics and art. The present project shifts the focus from mainstream cinema to all kinds of alternative cinema(s). Since there are many forms of alternate cinematic expressions, it is proposed to call in alternate cinema(s). The present project invites original research papers/chapters from film scholars, film writers and filmmakers reflecting on Parallel Cinema or New Wave or New Cinema or Avant Garde in the past and Indies, new cinema or New (Middle) Cinemas, short films or experimental films in the post-liberalization era across South Asia to understand region specific issues.